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At the moment, iriminage -- I have a stiff ankle that makes the quick, big turn hard to take. I can feel myself stiffening as the turn starts.

Challenging throws as nage, though, seem more situational. Depends on my partner, which version of which throw, whether I am at a seminar trying to get something new or in class teaching kihon waza. If I had to choose, ikkyo and iriminage remain the most challenging to work with overall.

I take horrible ukemi for iriminage (I always seem to not keep the ukemi tight and am far away from nage and it's not nage, it's definately me!). Ironically as nage, I can be in the proper position, but tend to loose uke when time to complete the technique.

So yes, I do think there is definately a correlation!

How can I change my ukemi to stay closer to nage? Bad habits are hard to break.

I've got to say Jiyu Ji Garami tops my long list. I find it hard to relax into the roll/breakfall once the arm bar goes on. If uke holds on to your top arm to long then you really have to do one of those armless rolls.

I haven't done it that much, but it is in my next grading so it looks like I am going to start giving\receiving it more often!

Shihonage-osae. Definitely. (That is, shihonage to a pin, rather than extending to throw uke into a roll). I'm probably going to build up a reputation as 'that Yoshokai guy who won't stop talking about how they change the light bulbs in their dojos', but I should explain by noting that our ukemi for shihonage-osae is to go back without bringing the hips down - kind of a 'limbo' feel, so that shoulders impact first (along with a slap with the free hand).

Best tip for that ukemi? Sensei told me to remember to keep the slapping hand way up high until it slaps. Absorbs much more force that way; makes a huge difference. I still get jostled. Also, lately I tend to lift my heels up for the ukemi, which is bad form, I believe.

As for correlation between my ability to perform that technique and my ukemi...hmm. I actually like shihonage quite a lot. I sometimes forget to really turn the wrist down to complete the torque, and placing it properly with respect to my center is tricky. (We ideally do it with a cut right down our center, so that uke is acutally turned to the side, but sometimes I turn uke's arm rather than his/her body...)

If I have got time to think, then anything that results in a breakfall/flip. Always been a fear for me, and something I have to confront every time I walk on the mat. Not sure why this is such a problem - there must be some history there somewhere but nothing specific I can recall.

The strange thing is I do them ok, and often get asked to uke for a visiting teacher.

I've been confronting this fear for 15 years and it's a persistent bugger. Anyway, I just keep training, and hope that repetition is the answer. I figure that one day it will just get bored with not winning and will quit pestering me all the time.

I have no problem as nage, though (any more than any other practice, that is) and see no correlation for me.

Because of my bad bad bad breakfall capability, getting thrown koshinage scares the %&^$#& out of me. Although when Gleason Sensei or Ikeda Sensei have thrown me, they seem better able to control my flight!! I know it is my job to control myself and work on it a lot. But....I have yet to learn the fine art of flying sans wings!!

I like to use tenshin nage. Gleason Sensei talks a lot about taking control at first contact. I find that tenshin nage is is excellent training for taking control at first contact. It teaches me to feel Uke's mood and movement, rather than try to just muscle her/him down.

If I can turn my head in the direction I am being thrown, then iriminage is my favorite technique to receive. If nage forces my head to turn to the outside it is definitely my least favorite. I don't know if there is any correlation but iriminage is also currently my worst technique as nage. I tend to let uke spin away or else my timing of the reversal is off.

Ikkyo irimi from kata tori or katate tori. The senior people in my dojo take the "face-plant" fall like a gently fluttering leaf. I take it like a brick. For some reason we don't teach it, beyond basic advice not to drop onto your knees, and I haven't been able to pick it up by observation.

I don't like being nage either because the footwork seems unnatural, especially if uke is much taller. The tenkan versions seem so much more graceful. And maybe I sympathize too much with uke when s/he thuds to the mat just like me.

So yes, there probably is a correlation, though I wouldn't say that I always have trouble as nage if I have trouble as uke.

Gyaku hanmi Katatedori. Nage either tenkans or irimitenkan, then raises his hand in circular motion, and throw uke forwards. Most of the time, uke loosens his grip on nages hand so he doesn't overbalance, and nage fails to throw the sod.

Draw strength from stillness. Learn to act without acting. And never underestimate a samurai cat.

Please don't forget that this thread isn't just about "which technique do you not like to receive as uke," but meant to try to see if there is any correlation between techniques that you do not like to receive as uke and how well you do that technique as nage.

Least favorite to recieve- irimi nage. Sensei just changed how he wanted the ukemi for this technique...and it's insanely difficult (or maybe I just need serious work on my ukemi )

I've also always had problems doing irimi nage (ura) because it was hard to get a good feeling of blending. (my ashi sabaki always seemed just a bit off)

favorite to perform- nikkyo. I originally hated nikkyo because I couldn't get it to work on anyone. So I spent hours with every yudansha I could find working with it and tweaking it. It works great now, so I love using it. I still play with it though. Somehow I don't think I'll be satisfied untill I can snap wrists with a twitch.